Gender, domesticity and the empty signifier: in Tomas Aldredson’s Let the Right One In (2008) & Matt Reeves Let Me In (2010)

The imperatives of this article emanate from a desire to explore the way in which Tomas Alfredson’s Let the Right One In (Låt den rätte komma, 2008) was culturally and commercially transitioned through its American remake, Matt Reeves’s Let Me In (2010). Key questions concerning the framing of gender and sexuality form an integral facet […]

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